Textile Research Centre

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Textile Research Centre The TRC in Leiden, The Netherlands, is an independent study centre for textiles and dress.

Emilie Lambert, collection manager at the TRC, writes about the some 300 pairs of gloves, mittens and gauntlets in the T...
17/10/2026

Emilie Lambert, collection manager at the TRC, writes about the some 300 pairs of gloves, mittens and gauntlets in the TRC collection. They are made of leather, wool or silk, in lace or with net work. They may be knitted, practical or purely decorative. The sheer variety, both technically and culturally, is fascinating. The full blog can be downloaded from the TRC website: https://lnkd.in/eMDuFCZR.



Illustrations:
- (left) Assortment of gloves in the TRC collection showing the wide variety in material, shape, and decoration.
- (right) Left to right: a pair of gloves (TRC 2025.0641a-b), mittens (TRC 2007.0762a-b), and gauntlets (TRC 2025.0905a-b).

TRC mini-exhibition: "A language of the hands. Embodied Knowledge and Transmitted Memory in  Sarongs from Buton, Indones...
14/10/2026

TRC mini-exhibition: "A language of the hands. Embodied Knowledge and Transmitted Memory in Sarongs from Buton, Indonesia." This mini-exhibition at the TRC is curated by Minsook Kang, who is an intern at the TRC. She is a visual artist and researcher at the Rietveld Akademie in Amsterdam, working across textiles, moving images, installations and publications. She explores stories, memory, and embodied knowledge through forms of care, attention, and material engagement. In the summer of 2026 she visited the island of Buton in Sulawesi Province, Indonesia.

The exhibition explores the Buton sarong as a form of embodied and transmitted knowledge.

Drawing on TRC collections and fieldwork in the town of Baubau, the exhibition traces how patterns, motifs, weaving practices, and memories that are transmitted across generations through speech, observation, and the hands. As a strong oral tradition culture, the sarong emerges as a living textile language shaped by everyday life, nature, and generations of makers.

The exhibition can be visited until 20th of November 2026. The TRC is open every weekday from 10.00 to 15.00.

A long blog about the exhibition and about sarongs from Buton, written by Minsook Kang, can be downloaded from the TRC website: https://tinyurl.com/3kyn766j

Flora Kovacs-Wester is a TRC Fellow, and as part of her research into Japanese kasuri weaving, she recently had the oppo...
14/10/2026

Flora Kovacs-Wester is a TRC Fellow, and as part of her research into Japanese kasuri weaving, she recently had the opportunity to interview Japanese textile designer Hana Mitsui about her practice and her approach to traditional Japanese textiles. She wrote a blog about the subject, which can be downloaded here: https://tinyurl.com/2xm5z4ye



Illustration: Tokyo-based textile designer Hana Mitsui. Photograph: www.hanatextiledesign.com

Workshop - Tarz embroidery - November 18, 2026Tarz embroidery is an ancient Moroccan art form in which stories, symbolis...
14/10/2026

Workshop - Tarz embroidery - November 18, 2026

Tarz embroidery is an ancient Moroccan art form in which stories, symbolism, and craftsmanship come together. This technique has been passed down by hand for generations, with every stitch placed with precision and dedication. The refined patterns often carry a deeper meaning and reflect themes such as protection, harmony, and happiness.

As a fashion and textile designer, Nadia el Banourssi, the teacher of this course, draws inspiration from her Amazingh heritage and the stories contained within it. The Amazingh are the indigenous people of large parts of North Africa.

"By working by hand and paying attention to every detail, more than just a design is created; a story is created. A story that connects past and present and brings the beauty of Moroccan craftsmanship back to life. As a designer, I see it as my mission to keep these stories alive and pass them on to future generations."

- Nadia el Barnoussi

Date: Wednesday, November 18, 2026.
Time: 10:00 - 13:00.
Location: TRC Leiden, Boerhaavelaan 6, 2334 EN, Leiden.
Teacher: Nadia el Barnoussi
Language: Dutch, English where necessary.
Cost: 45 euros. Coffee, tea, and materials are provided.

You can register by emailing: [email protected]

Become a Friend of the TRC. The Stichting Textile Research Centre (more widely known as the TRC) Leiden is an internatio...
12/10/2026

Become a Friend of the TRC. The Stichting Textile Research Centre (more widely known as the TRC) Leiden is an international knowledge centre for textiles and dress studies that works with people and objects from around the world with no artificial boundaries, as culture and knowledge have no geographical boundaries. We are equally interested in huipil from Guatemala to hanfu in China, as well as Dutch lace caps and East African kangas!

Over the last 35 years, the TRC Collection has grown to over 56,000 catalogued items, making it one of the largest textile and dress collections in Europe. It is used on a daily basis for teaching, research and inspiration purposes.

Since April 2026 this diverse collection has been housed at Boerhaavelaan 6, a monumental urban villa, in Leiden, the Netherlands. The building allows for the expansion of educational activities and exhibitions of the growing collection. Become part of our future and join our support network by being a Friend of the TRC.

In order to build up a solid future, we need long-term commitments from as many people as possible who love textiles in all their many varied forms, colours and patterns!

We invite you to become a Friend of the TRC. Friends transfer annually the sum of 250 euros or more, for a minimum of three years. If you want to become a Friend, please contact Dr Gillian Vogelsang, Director TRC, at [email protected].

To show our appreciation you will receive the blogs regularly written by TRC staff and others about objects from the TRC Collection and about other textile-related subjects. You also receive a 10% discount on items in our shop, lectures, courses and workshops, as well as advance information about special events such as community days, special talks, evening events based on exhibitions, book sales, etc.

Exploring Uzbekistan's ikat traditions (by Augusta de Gunzbourg, TRC curator and education manager, 25 September 2026). ...
12/10/2026

Exploring Uzbekistan's ikat traditions (by Augusta de Gunzbourg, TRC curator and education manager, 25 September 2026). The TRC was invited recently to attend "Atlas Bayrami", the 7th International Traditional Textile Festival, held in Margilan in the Fergana Valley, in the east of Uzbekistan. I attended the festival as TRC's representative. The event celebrated the country's textile traditions, and in particular the traditional silk ikats of this region. This extraordinary invitation was a chance to represent the TRC at an international conference and to better understand a textile history that is still very much alive in the valley and across the country.

Uzbekistan is known for many crafts, such as ceramics, carpet making and embroidery, but Margilan shines with its tradition of making ikat (traditionally known as abr, Persian for 'cloud'). A particular conference in which I participated during the festival explored textile traditions, and also how textile heritage and craftsmanship could be better preserved, both locally and internationally. The event was backed by many local institutions as well as the European Union and UNESCO.

After 24 hours of travel, six of them by train to the rather remote Fergana Valley, our group of international visitors working in culture and textile heritage took part in conferences, textile fairs and all sorts of textile-related events. We also visited many work places that carry on the long tradition of ikat makde from silk threads, locally known as atlas.

Standing in those workshops, it was hard not to feel the weight of this textile-making tradition. The city of Margilan has been known for its silk since the 10th century, when it was an important stop on the Silk Road. Local craftsmen are said to have learned silk-making from China and refined it until Margilan silks became prized goods along the route. Ikat has been made here for centuries: cocoons boiled and made into silk threads that are bound and resist-dyed before they are woven to create the distinctive blurred patterns of the cloth.

Some of the master-makers come from generations of craftspeople, and many of the old techniques are still in use, including dyes made from plants and flowers (pomegranate skins, walnut husks or acacia flowers), although chemical dyes are also applied.

We were told that natural dyes have been gradually reintroduced over the past 15 or 20 years, after chemical dyes had taken over the field. Some artisans, for example, sought help from master dyers in countries such as Iran, where the tradition had survived, to revive the old know-how of these dye plants.

We also learned to distinguish atlas, pure silk ikat, from adras, which is made from a silk-cotton blend. The most prized pieces are still woven by hand on traditional looms, but more industrially produced versions are also for sale at tourist sites. Interestingly, a special piled form of ikat velvet is part of the local tradition, with its threads bound, dyed and woven using the same tools, vats and looms as atlas and adras. After the threads have been dyed, extra threads are woven over metal rods to form a raised pile, which is then cut with a sharp blade. This velvet is known locally as bakhmal.

Bakhmal can be made of silk or of a silk-cotton blend. The result is a rich, textured cloth with patterns sometimes similar to those of atlas, although a little less blurred. Velvet ikat was long reserved for the elite, prized for its rarity and the skill it required to be produced. Today it is still made by hand, alongside cheaper machine-made versions, and is used for all sorts of objects, such as decorative hanging panels and cushions.

We were able to follow the whole process of making atlas, adras and bakhmal: reeling the silk from the cocoons, binding and dyeing the threads, weaving, and finally selling the finished fabrics. Although these textiles are an important part of the local tourist trade, atlas and bakhmal are still very much part of local life. We saw them in many people's festive dress, from high-end silk versions to simple printed fabrics imitating the colourful woven originals.

Illustrations:
- The author speaking during the conference.
- Site of the festival with participants in traditional clothing. Photograph by author.
- Unspooling of the silk threads into strands. Photograph by author.
- Threads bound and dyed. Photograph by author.
- Dying vat with cochineal. Photograph by author.
- Loom for the production of atlas. Photograph by author.
- Bakhmal being woven with the use of metal rods, then cut. Photograph by author.

Hanfu at the TRC (by Gillian Vogelsang, 5 October 2026) A few days ago, Danni Wang, who is of Chinese origin and lives i...
07/10/2026

Hanfu at the TRC (by Gillian Vogelsang, 5 October 2026) A few days ago, Danni Wang, who is of Chinese origin and lives in The Netherlands, came to the TRC with two of her friends, all of whom were dressed in Hanfu. They looked so different and ‘exotic’. And yes, that was the whole point. Hanfu has become more and more popular over the last twenty or so years with many Chinese, both in China itself and among the diaspora, as well as others who love Chinese history and culture.

Hanfu literally means ‘Han clothing’ or Hanzhuang ('Han attire') and refers to the Han Chinese ethnic majority, who were the dominant force in China for over four thousand years until the end of the Ming dynasty (1368-1644) and the establishment of the Manchu dynasty (1644-1912). Hanfu is a modern adaptation (and interpretation) of Han clothing.

I first encountered Hanfu when I was in China in 2018, attending a conference at the National Silk Museum, Hangzhou, I saw several men and women wearing Hanfu and they looked so much more interesting than some of their companions. It piqued my own curiosity about this clothing development.

Manchu related items such as the qipao (cheongsam) and much later the Communist-era Mao suit (apparently inspired by Japanese school uniforms), not to mention Western-style clothing and fashions, are regarded as the antithesis of modern Hanfu. Hanfu and the wearing of it is about being Han Chinese and for many it means re-discovering their cultural heritage, roots and identity.

Basically Han clothing consisted of a tunic and skirt for a woman, and a long gown for a man, although some garments, especially when horse riding, could be worn by either. But this is a simplification of a complex subject, which is full of nuances! As with so many clothing forms, Han Chinese fashion, materials and designs changed over time. also depending on social position (farmer, merchant, warrior, priest, emperor, etc), economic means, religion, as well as what was locally available and the politics of the period. Consequently, there are different forms of modern Hanfu!.

In March 2024 the TRC presented an exhibition about traditional Chinese dress forms that included Han, Manchu and Mao garments from the TRC Collection. We did not include any Hanfu examples, something we will change in the future as it is part of the development of Han Chinese dress traditions.

Hanfu book

But why had Danni and her companions come to the TRC? She wanted to present a copy of a book called Hanfu – A Visual Primer of Historical Han Chinese Attire, by Jieyu Yan and Jason Tse, (2025, Icultures Publications, ISBN: 9798987135365). It is a lovely, full-colour book with a lot of information about the history of Han Chinese dress forms and codes, patterns, sources of inspiration, etc., and their interpretation to produce many forms of Hanfu. Well worth having in any library with an interest in dress traditions from around the world.

Other possibilities

We also talked about the possibility of having various events based on the concept of Hanfu at the TRC, such as a series of lectures and workshops. My thoughts quickly led to talks about the history of Han Chinese dress forms, the differences between Han Chinese dress and other ethnic groups, how to make and wear Han Chinese clothing, make-up for women, embroidery forms, sewing techniques, etc. Also the relationship between dress and music, and …..

I am sure a lot more ideas will be discussed and put into the TRC Agenda in due course!

See also two relevant websites:

https://www.instagram.com/nlhanfusociety/
https://cris.maastrichtuniversity.nl/en/publications/doing-hanfu-an-ethnographic-study-of-embodied-meaning-making-prac/

Illustrations:
- Our guests in Hanfu clothing at the TRC, 5 October 2026.
- Hanfu – A Visual Primer of Historical Han Chinese Attire, by Jieyu Yan and Jason Tse (2025, Icultures Publications, ISBN: 9798987135365).
- Danni Wang presents a copy of the Hanfu book to Gillian Vogelsang, Director TRC

Masterclass in Amuzgo Backstrap Weaving: 24-25 OctoberDuring this two-day workshop you will learn how to set up a warp o...
01/10/2026

Masterclass in Amuzgo Backstrap Weaving: 24-25 October

During this two-day workshop you will learn how to set up a warp on a backstrap loom, weave traditional Amuzgo motifs using plain weave and brocade weft technique, and explore the cultural meanings behind these patterns.

The Amuzgo (Ñomndaa) are an Indigenous people of Xochistlahuaca, Mexico. Indigenous master weaver Gabina Valentin López will give the class, in English and Spanish.

Date: 24 and 25 October, 10.00-17.00
Place: Het Leidse Volkshuis, 33 Apothekersdijk, 2312 DD Leiden, NL.
Cost: €280.
To register: www.stofbond.nl/events/masterclass-weaving

23 oktober, 13:00-17:00:  MASTERCLASS: Amuzgo EmbroideryDiscover the art of Randa, a Mexican embroidery technique histor...
24/09/2026

23 oktober, 13:00-17:00:

MASTERCLASS: Amuzgo Embroidery

Discover the art of Randa, a Mexican embroidery technique historically used to decorate traditional clothing. Guided by Indigenous artisan Gabina Valentín López, this immersive masterclass offers a hands-on journey into a rich, living textile heritage.

Location: Het Leidse Volkshuis, 33 Apotgekersdijk, 2312 DD Leiden
Cost: €95
Language: English and Spanish
Level: Beginners and advanced embroiderers.

Materials included. Organized by de Stof Bond. Tickets and more information www.stofbond.nl/events/masterclass-embroidery

Study day amd workshop ! Japanese Kasuri weaving -  30 October 2026TRC workshop introducing Japanese kasuri weaving, com...
24/09/2026

Study day amd workshop ! Japanese Kasuri weaving - 30 October 2026

TRC workshop introducing Japanese kasuri weaving, commonly known as Japanese ikat. This workshop offers a chance to explore some of these fundamental steps on a small scale and discover how the preparation and arrangement of threads shape the final woven pattern.

Participants will be introduced to the history of kasuri and selected kasuri samples from the TRC collection will provide a starting point for close observation.

Participants will then practice tying sections of thread to create pattern variations. For the weaving stage, they will work with pre- dyed threads. Working on a basic frame loom, participants will create a small woven kasuri sample of their own.

Suitable for textile enthusiasts of all levels, the workshop offers an opportunity to develop a deeper appreciation of the skill, precision, and remarkable craftsmanship behind this long-standing Japanese weaving tradition.

The workshop will be taught by Flora Kovacs-Wester is a textile and costume professional and a Junior Fellow at the TRC Leiden, where she is currently developing a research project on Japanese kasuri weaving within the framework of the The Gieskes-Strijbis Fellowship Programme.

Date: Friday, the 30th of October 2026.
Time: 10.00 - 15.00.
Venue: TRC Leiden, Boerhaavelaan 6, 2334 EN, Leiden
Language: English⁸
Costs: 85 euros.

Adres

Boerhaavelaan 6
Leiden
2334EN

Openingstijden

Maandag 10:00 - 16:00
Dinsdag 10:00 - 16:00
Woensdag 10:00 - 16:00
Donderdag 10:00 - 16:00

Telefoon

+31628830428

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